The sound of singing children played eerily over the lull of pre-show chatter. Whispers and strange phrases overlaid the music as the lights faded. “Who’s afraid of the big bad wolf?”, the voices sang. The tone of the performance to come was darkly intimated.

“The Pillowman,” the current production being performed by Hamline’s Theatre and Dance Department, is a story of harrowing plot twists and imaginative murders, spun expertly into a narrative of dark humor and drama in an unidentified totalitarian place.

“It was really well done. The actors did an awesome job. I thought it was funny, which is not what I thought it was going to be,” said Bahieh Hartshorn (‘16), a student who attended opening night. “So go see it for the dark humor.”

The cast consisted of only seven members and opened upon the interrogation of story-writer Katurian Katurian, a man whose writing emerges from his own internalized childhood suffering and disturbing experiences. Officers Tupolski and Ariel question him to make a gruesome connection between Katurian’s twisted murder stories and the recent string of children’s deaths in the area. A “good-cop, bad-cop” dynamic played out brilliantly—an evolving mix of both amusing banter and hot-headed brutality—between actors Hattie Hsu (‘18) and Nathaniel Schumer (‘16).

“It’s been great to work with Nate and Hattie…Their comedic timing is just absolutely incredible,” said Jacob Hooper (‘17), the actor that played Katurian.

The second of the three long scenes in the play debuted Katurian’s only remaining family—his brother, Michael, who is described as “slow to catch on.” Michael also suffers from the mind-altering effects of abuse and strange childhood experimentations with cruelty. Michael, played by McKenzie Shappell (‘16), and Katurian, played by Hooper, converse and interact in a way that reveals a series of complex intertwining plot twists, but also the equally evocative, vivid and complex nature of the brotherly relationship portrayed by both actors.

“I love working with Kenzie. The Michael and Katurian scene is my favorite,” said Hooper. “We’ve worked together a couple of times now, such as in Macbeth and Rimers of Eldritch. He and I just work super well together on stage.”

This haunting story was also brought to life, sometimes chillingly, through detailed and deliberate set design, sound and lighting. Sound effects and lighting changes crafted scenes into an atmosphere of dramatic horror. Sets depicting implements of torture juxtaposed next to an innocent, childlike bedroom only furthered this macabre ambiance that seemed to set into one’s skin. Especially during the most intense and climactic moments, the tension of the audience was palpable.

The seven actors performed with stunning and unsettling authenticity. Despite the frequent laughs emerging from the audience, there were audible moments of gasping and fear for the fate of characters. It was unexpected; it was brutally unforgettable.

This horror-comedy is a catalyst for critical thought, posing complicated societal questions: To what extent should artistic expression be policed? What is the power of a story? What is the value of a terror-stricken life? It is a tale that accentuates the dichotomy and relationship between creativity and cruelty.

On Friday, April 22, a post-performance talkback will be held as a chance to discuss the play’s themes. Professors Aaron McKain (English), Mark Berkson (Religion), Mike Reynolds (English) and Binnur Ozkececi-Taner (Political Science) will all be participating.

 
“The Pillowman” will run April 21, 22 and 23 at 7:30 p.m. in the Anne Simley Theatre. The show is open to the public and highly recommended. Tickets are two dollars for Hamline students. For more information, visit https://www.hamline.edu/inside/hamline/2016/the-pillowman/.